Prince’s Songwriting Legacy — Crafting Hits for Other Artists
Prince Rogers Nelson (June 7, 1958 — April 21, 2016) was an American singer, songwriter, producer, multi-instrumentalist, and actor, known for his flamboyant persona, wide vocal range, and electrifying live performances. The Minneapolis-born virtuoso was a musical innovator who constantly pushed the boundaries of conventional styles, seamlessly blending genres from pop, new wave, hip-hop, to soul, creating a unique and distinctive sound that appealed to a wide audience. His mastery in adopting music technology, particularly synthesizers and drum machines during the 1980s, set new trends and defined the sound of the era.
Prince’s songwriting was a masterclass in versatility, weaving intricate stories and melodies that transcended genres effortlessly. His ability to craft songs that resonated emotionally, regardless of genre, set him apart as a songwriter. His lyrics, ranging from poetic and evocative to provocatively bold, drew listeners into a deep emotional experience. Whether delivering a sultry R&B ballad, rocking the stage with a funk-infused anthem, or serenading with a tender acoustic tune, his creativity knew no bounds.
Throughout his career, Prince released a string of influential and critically acclaimed albums, such as “Purple Rain,” “Sign o’ the Times,” “1999,” and “Dirty Mind.” These albums showcased his versatility and artistry, solidifying his place in music history. His album “Purple Rain” alone sold over 25 million copies, launching him into the stratosphere of musical greatness.
In his role as a songwriter and producer for other artists, Prince’s work was significant, contributing to his lasting influence in the music industry. His commitment to empowering female musicians was evident in his collaborations with artists like Sheena Easton, Sheila E, Jill Jones, The Bangles, and Vanity 6, among others. Whether writing, producing, or performing, Prince played a pivotal role in highlighting the talents of these women, breaking down barriers in the music industry.
A staunch advocate for artists’ rights and creative control over their music, Prince famously battled with his record label, Warner Bros. His struggle highlighted the issues of artistic freedom in the music industry, and he even changed his name to an unpronounceable symbol as a form of protest.
Prince’s songs and performances were steeped in sensuality, exploring themes of desire and passion with candor. His androgynous style, flamboyant stage presence, and unapologetic embrace of sexual expression challenged conservative norms. His approach to sexuality was a deeply personal and artistic choice, an assertion of his identity. His lyrics often delved into themes of sexuality, spirituality, love, and social issues, sparking discussions and challenging societal norms. Songs like “Dirty Mind” and “Darling Nikki” pushed the boundaries of lyrical content in the ’80s, creating controversy and fascination simultaneously.
Prince’s influence extends far beyond his own era, shaping the musical journeys of countless artists. His groundbreaking fusion of genres and fearless individuality left an indelible mark on artists such as Beyoncé, Lady Gaga, The Weeknd, Bruno Mars, and Frank Ocean, all of whom have cited him as a major influence. Prince’s legacy continues to inspire new generations of musicians to push boundaries and explore the uncharted realms of creativity.
In this article, we’ll take a look at a less-explored facet of Prince’s artistry — his songwriting and production for other artists, often under pseudonyms to maintain a sense of anonymity and creative freedom. Prince’s ability to craft songs tailored to the artist’s style while infusing them with his signature sound was truly exceptional. These collaborations underscored Prince’s profound influence on shaping the sound of popular music during his era.
Mia Bocca — Jill Jones (1987)
American singer Jill Jones met Prince during his 1981 Dirty Mind Tour, when she was working as a back-up singer for Teena Marie who was the tour’s opening act. Two years later she was invited by Prince to sing backing vocals on several tracks from his 1999 album and appeared in the iconic music videos for “1999” and “Little Red Corvette” before joining the 1999 Tour as a back-up vocalist with Prince’s band. Between 1983 and 1987 she recorded backing vocals for several Prince projects, including albums by Sheila E, Apollonia 6, and The Time and had a small part in the two of Prince’s movies, Purple Rain and Graffiti Bridge.
Transitioning to a solo career, she released her eponymous debut album in 1987 on Prince’s Paisley Park Records. Prince wrote, produced and performed all the songs on the LP and registered them at the library of congress under one of his aliases, Joey Coco. Most of the songs had been initially recorded by Prince before Jones added lead vocal overdubs. The album’s standout track, “Mia Bocca’’ (Italian for “my mouth”) was specially tailored for Jill Jones and was released as the first single but failed to capture the attention it merited. Even though the single did not register on any Billboard charts, it fared better in Europe, climbing to #6 on the Italian singles chart (the chorus features the line “Tu vuole la mia bocca” which is Italian for “you want my mouth”).
“Mia Bocca” is a Prince composition through and through, featuring his signature style — a blend of pop with a touch of funk and a stark electronic beat reminiscent of the “When Doves Cry” era. The song’s intro features an acapella performance by Jones, and as the beat unfolds, the track’s seamless fit with the “Purple Rain” soundtrack is evident, although it was written in 1982 and released five years later. “Mia Bocca” resonates with an instantly memorable chorus, with lyrics and a melody that linger long term. Jill Jones’s soulful delivery enhances the song’s allure, providing a warm contrast to Prince’s icy electronic backing beat.
The Feliniesque black and white music video feels like a throwback to 1950s Italian art films. It opens with a spoken intro by Melvin Van Peeble and follows Jones as she is performing the song on a beach, to the great delight of a group of enamored young boys. It was directed by renowned French fashion photographer Jean-Baptiste Mondino who also directed iconic videos for Madonna & David Bowie among others.
Despite its failure to chart in the US, “Mia Bocca” stands as a testament to Prince’s extraordinary talent as a composer and remains one of his most underrated masterpieces.
LOOK OUT FOR: As Jones strolls along the beach, she’s carrying her shoes — a logical choice to avoid sandy high heels. However, a broader camera shot reveals a peculiar detail: she’s STILL wearing a pair of shoes while holding another pair. This quirky inconsistency has been a curious point of intrigue since I first watched the video 36 years ago.
101 — Sheena Easton (1988)
Prince and Sheena Easton fostered a profound connection during the 1980s, a creative partnership that birthed several notable collaborations including the duet “U Got the Look” , a #2 hit on the Billboard Hot 100. The song “101” was written for Easton’s 1988 comeback gold album, “The Lover in Me” and was credited once again to Prince’s enigmatic alter-ego, Joey Coco (You go, Joey Coco).
Prince outdid himself with this breathtaking composition, creating an electro funk track that is built over a Linn drum machine beat with minimal instrumentation. Sheena Easton nails the vocal, gradually escalating from a hushed tone to a powerful crescendo. She poignantly depicts the anguish of a lover abandoned, counting each candle lit in the solitude of the night — the tally reaching 100, with the thought of the 101st becoming unbearable. Her portrayal oscillates between desperation and vulnerability, evolving into an earnest plea for her lover’s return as the track unfolds.
Despite its artistic merit, “101” didn’t reach the Hot 100, being the fourth single released from the album. However, it resonated within the dance club scene, securing its status as a club hit reaching #2 on the Billboard dance charts. It was also a minor hit in the UK, peaking at #54
LOOK OUT FOR: The moment the mounting tension that has been building throughout the song, reaches its boiling point.
The Belle of St. Mark — Sheila E (1985)
Sheila E, aka the Queen of Percussion, was another Prince protégé who also performed on stage with him during the “Sign o’ the Times” era. She had a series of hit singles in the mid ’80s, most of them written and produced by Prince. “The Belle of Saint Mark” is a dance-pop song, bordering on synth-pop, with funk influences. This is yet another brilliant composition that Prince gifted to another artist.
The song narrates the tale of an androgynous “frail but passionate creature,” a recurring theme in many of Prince’s songs from that era. Sheila E’s dynamic performance of this song was always a highlight of her live shows, and it’s easy to see why when watching the video. Chart-wise, “The Belle of Saint Mark” peaked at #34 on the US Hot 100 and reached #18 on the UK Top 75 and was a top 10 hit in the Netherlands and New Zealand.
LOOK OUT FOR: This moment, as Sheila E and the band begin to move in perfect harmony.
Love Song — Madonna feat. Prince
“Love Song” is a captivating collaboration between Madonna and Prince, featured on Madonna’s critically acclaimed fourth album Like a Prayer, released in 1989. The song is a fusion of the distinct yet complementary styles of Madonna and Prince, two of the most iconic figures in the music industry. Although Prince also contributed on 3 other tracks from the album, “Like a Prayer”, “Keep it Together” and “Act of Contrition”, “Love Song” is the only collaboration with Madonna for which he is credited.
The track is characterized by its subtle funk undertones and a minimalist, experimental sound that diverges from the more mainstream pop melodies typically associated with Madonna’s earlier work. Prince’s influence is palpable, infusing the song with his signature blend of smooth vocals and scratchy disco guitar.
The chemistry between the two artists is undeniable, creating a nuanced and introspective narrative that explores the complexities of love and relationships. Madonna’s expressive vocal delivery intertwines seamlessly with Prince’s soulful harmonies, making “Love Song” a mesmerizing duet that captivates the listener from start to finish.
Although “Love Song” may not have been released as a single or received the same level of commercial attention as other tracks on the album, it remains a cherished deep cut for fans. The collaboration symbolizes a momentous fusion of creative spirits, highlighting the remarkable versatility and depth of both Madonna and Prince as artists. “Love Song” endures as a unique piece in their discographies, celebrating the power of collaboration and the enduring legacy of two music legends.
FUN FACT: Madonna sings “Time goes by so slowly for those who wait, and those who run seem to have all the fun”, foreshadowing one of her biggest hits, Hung Up, 15 years before that song’s release.
Manic Monday — The Bangles (1986)
A timeless pop-rock ballad, originally written by Prince for his site project Apollonia 6. When that didn’t pan out, Prince offered the song to the Bangles, using the pseudonym Christopher which is how the song is credited on the Bangles album “Different Light”.
Musically the song is far rockier than any other Prince compositions of that era and it tells the story of a young woman who wakes up on another boring Monday morning and has to face the reality of life as a working woman. The catchy tune with its irresistible piano hook and the relatable lyrics was a global hit, reaching #2 in the US, UK and West German charts and #6 on the European Hot 100 Single:
SAY WHAT?: Getting up at 6 am should give anyone plenty of time to commute to work, yet Hoffs seems to be always late. Exactly how long is her commute? Perhaps she is late because she takes too long to figure out what to wear each morning.
Nothing Compares 2 U — Sinead O’Connor (1990)
Some songs have such a huge impact on pop culture, they remain in the public consciousness forever. “Nothing Compares to You” by Sinead O’ Connor is such a song. A timeless classic ballad that features in countless “Best of all time” lists. The song was originally written for one of Prince’s side projects, The Family, and appeared on their 1986 debut album.
It almost went unnoticed until 1990 when Sinead O’Connor recorded her iconic version for her album “I Do Not Want What I Haven’t Got”, with help from producer Nellee Hooper. With a dream-like production and sound, along with Sinead’s passionate vocal pleas and dramatic interpretation, the song was an instant hit becoming the biggest worldwide hit of 1990 and reaching number 1 in both the US and UK charts.
The video of the song has received tons of accolades, including wins for Video of the Year and Best Female Video at the 1990 MTV Video Music Awards. The video is mostly a close up of a heart broken Sinead O’Connor as she sings the lyrics. A few scenes are shot outside at a park in France, with the song ending famously with two tears rolling down Sinead’s face elevating this video to pure form of art. This is easily Prince’s second best ballad (keep reading for his best ballad).
LOOK OUT FOR: Duh, the moment those tears roll down Sinead’s face. Heartbreaking.
Love…Thy Will Be Done — Martika (1991)
Written by Prince and Martika, “Love… Thy Will Be Done” was the young singer’s first single from her album “Martika’s Kitchen”. Once again a slow tempo song with an unmistakable Prince sound and production values and despite this having been released in 1991, sonically the ballad is a better fit among his 1987–1988 work.
Introducing a more adult sound for Martika, “Love… Thy Will Be Done” became a big hit in the UK and US reaching the top 10 in both countries. The song contains a constant backline, played by drums and bass, without any variation throughout the song. The rhythm and intensity remain constant , independently of other effects on the song, creating a sound close to trip-hop for another worthy addition in Prince’s list of compositions and production.
LOOK OUT FOR: The impeccable vocal arrangement as Martika sings “Even when there’s no peace outside my window, There’s peace inside”.
The Sex of It — Kid Creole and the Coconuts (1990)
“The Sex of It” by Kid Creole and the Coconuts (1990) epitomizes Prince’s exceptional ability to meld his songwriting prowess with the distinctive styles of other artists. Featured in the album “Private Waters in the Great Divide,” this track stands as a nostalgic nod to the mid-80s, while embodying the characteristic vibrancy and theatricality of Kid Creole’s work.
“The Sex of It” is an exuberant fusion of new wave and dance-pop elements reminiscent of Prince’s own “Controversy” era. The song is an irresistible call to the dance floor, marked by its catchy rhythm and cleverly playful lyrics. Prince’s influence is palpable in the track’s composition, showcasing his remarkable talent for creating music that only resonates with his own style while it also harmonizes with the unique sound of collaborating artists.
Kid Creole, with his trademark flair, infuses “The Sex of It” with a blend of charisma and lightheartedness. The lyrics, though humorous, bear the hallmark depth and provocativeness of Prince’s songwriting. This piece exemplifies Prince’s adaptive songwriting genius, highlighting his capacity to tailor his musical narratives to enhance and complement the artist’s persona. The single resonated most prominently in the UK, securing #29 on the official singles chart. In the US, the track was a minor hit on a couple of Billboard charts, reaching #85 on the R&B chart and #19 on the Hot Dance Music — Club Play Chart.
Eternity — Sheena Easton (1987)
Between 1981 and 1986, Sheena Easton was one of the most consistent hitmakers in the US, becoming the most successful British female artist on the Hot 100 chart with 11 top 40 hits, but by 1987 her look and sound felt outdated in the era of Madonna. Easton was poised to release her eighth album, No Sound But a Heart in early 1987, but the shift in the music landscape, combined with a series of delays caused by record label mergers, doomed the album.
The first single from the new project was the Prince composed “Eternity”, released briefly in late 1987 in the US. After the single failed to have an impact, the album was permanently shelved and the single was soon withdrawn. That is a shame, because “Eternity” is Prince’s greatest ballad, a masterful weave of intricate keys and a slow, string-heavy melody.
The song commences with Easton’s captivating harmonization, setting the stage for a vocal performance that ascends to astonishing heights. This track is a testament to Prince’s melodic genius, offering a platform for Easton’s vocal versatility, showcasing a range and agility that stands distinct in her illustrious career.
Despite being withdrawn and never charting anywhere in the world, “Eternity” is included on Easton’s Greatest Hits collections and was recorded by Chaka Khan for her 1988 album CK. It remains a hidden gem, a poignant reminder of the depth and richness of Prince’s songwriting and the enduring resonance of Sheena Easton’s vocal artistry.
LOOK OUT FOR: The breathtaking vocal acrobatics halfway through the second verse, as Easton sings “You are the beginning, middle and end…” .
The Glamorous Life — Sheila E (1985)
“The Glamorous Life” is a funk-dance song written by Prince, but credited to Sheila E who recorded the song for her first album of the same name. The single was a big hit, reaching #7 on the Hot 100, and established Sheila E as a star in her own right. A great dance song with lyrics that reflect cynicism for the decadence and materialism the lead singer sings about. The song is also famous for Sheila E’s long solo percussion during live shows.
U — Paula Abdul
“U” by Paula Abdul (1991) is a lesser-known but equally captivating deep cut by Prince, featured in Paula Abdul’s second album Spellbound. The song was composed under the pseudonym Paisley Park and features the rhythmic vitality and a sensual energy that are hallmarks of Prince’s style. Abdul’s delivery is both powerful and nuanced, perfectly complementing the rich, layered composition that Prince so masterfully orchestrated.
The track is a harmonious blend of pop and R&B, showcasing Prince’s ability to defy genre boundaries and infuse his unique sound into the works of other artists creating a harmonious blend that captivates listeners. The intricate interplay between Abdul’s vocalizations and Prince’s compositional brilliance makes “U” a standout piece, reflecting the depth of creativity that Prince brought to every collaboration.
While “U” might not have received the widespread acclaim of some of Prince’s more famous creations, it remains a cherished gem for fans and a vibrant echo of his enduring impact on the music world.
Jungle Love — The Time (1993)
The Time is a funk and dance-pop group, assembled by Prince in 1981 under a clause in his contract with Warner Bros Records that gave him the option to recruit and produce other artists for the label. Early members included Jimmy Jam and Terry Lewis, along with lead singer Morris Day.
“Jungle Love”, released in December of 1984, is the second single from the band’s third album, Ice Cream Castle. It is a funk-pop song, built mainly on bass, analog synthesizer and drum machines, with a rock guitar solo that adds a new-wave vibe. The addition of sexual lyrics and the success of Purple Rain launched the song to the US Hot 100 at #20.
Nasty Girl — Vanity 6 (1982)
“Nasty Girl”, a standout track from 1982, was composed by Prince for Vanity 6, the girl group he meticulously curated. The song features the magnetic Denise Katrina Matthews, known as Vanity, alongside Brenda Bennett and Susan Moonsie. Although Prince was the creative force behind the song, he generously credited the songwriting to Vanity, a testament to his support for the artists under his wing.
Released on September 24, 1982, “Nasty Girl” stormed the club scene with its daring lyrics and infectious synth-funk rhythm. The song became synonymous with the era’s dance floor anthems, pushing the boundaries with its bold celebration of female sexuality. The song’s provocative nature put it at odds with most radio stations, relegating it to the fringes of mainstream airplay.
The track climbed to the #1 spot on the US Hot Dance Club Play chart for four consecutive weeks in November 1982 and made a significant impact internationally, reaching #5 in the Dutch Top 40. The group’s performance on TopPop, first broadcast on October 30, 1982, following their visit to Holland, is considered a classic and is still vivid in the minds of fans.
The evolution of Vanity, the lead singer and face of “Nasty Girl,” adds a compelling layer to the song’s narrative. From her role as Prince’s sultry frontwoman to her later life as a Christian preacher renouncing her past works, Vanity’s journey epitomizes the transformative power of time and personal growth.
Sugar Walls — Sheena Easton (1984)
“Sugar Walls” was originally intended for Jill Jones, but that changed when Prince saw Sheena Easton perform on the Tonight Show in early 1984. According to David Leonard, a recording engineer working with both Prince and Easton at the time, upon seeing Easton’s performance, Prince said “‘Ya, I gotta write something for that girl.” The next day Prince sent the song to Easton, who recorded her vocals a few days later.
The track is credited to yet another Prince pseudonym, Alexander Nevermind. Many radio stations refused to play the song, as it was presumed that the “sugar walls” in the song’s title is a reference to a vagina.
Lemme take you somewhere you’ve never been
I can show you things you’ve never seen
I can make you never want to fall in love again
Come spend the night inside my sugar walls
“Sugar Walls” continued Sheena Easton’s string of US hits, reaching #9 on the Hot 100 and #1 on Dance/Club Play chart. A few months after it was released, the song was included in the Parents Music Resource Center Filthy Fifteen list, which resulted in the creation of the infamous “Parental Advisory” sticker. No matter what happened back then though, the song remains a guilty pleasure and a synth pop melody that is as catchy as they get.
I Feel For You — Chaka Khan (1984)
“I Feel for You” was a disco song originally written for Prince’s 1979 self-titled album. The song was recorded by several other artists in the early 80s, including the Pointer Sisters. In 1984, R&B diva Chaka Khan recorded her own version, transforming the song into a dance classic and turning it into a global smash hit, that reached the #1 spot in the UK and the top 5 in the US Hot 100.
Chaka Khan’s version is an all-star effort, featuring Stevie Wonder on harmonica and a memorable rap section by Melle Mel of Grandmaster Flash and the Furious Five. The iconic video features breakdancing (a new trend at the time), and the song became a crossover success reigniting Chaka Khan’s career and introducing her to a younger audience.
When You Were Mine — Cyndi Lauper (1984)
“When You Were Mine” was originally included in Prince’s 1980 Dirty Mind album. Three years later, the new-wave influenced pop-dance gem found its way onto Cyndi Lauper’s extraordinary first album “She’s So Unusual”.
Cyndi’s version has a slower tempo but keeps intact its synthesizer basis and new-wave feeling. One of the highlights of her acclaimed first solo album, “When you were Mine” is a staple on 80s radio stations and captures the vibe of that era perfectly.
Kiss — Tom Jones and Art of Noise (1987)
An electronic version of the 1986 Prince classic “Kiss”, performed by Art of Noise with lead vocals by Tom Jones. The song reached the charts in both the UK and US only a couple of years after Prince’s original. The tongue-in-cheek performance by Tom Jones gives this version an enjoyable vibe, but this remmake cannot compare to the original.
LOOK OUT FOR:
A Love Bizarre — Sheila E feat. Prince (1986)
Taken from Sheila E’s 1985 album “Romance 1600”, “Love Bizarre” is a 12:16 minute long jam session and a duet with Prince. This catchy, sing-along funk-dance gem turned out to be the perfect song for a duet by the two long time friends,
The song features Sheila E on lead vocals and percussion, with Prince playing all other instruments and vocals (except the saxophone, which is played by Eddie Mininfield). An edited version of the song, just 3:16 minutes long, was released as a single in November 1985 and was a minor hit around the world, reaching #11 on the Billboard Hot 100 chart and #1 on the Dance Club Play chart. It was also a top ten hit in Belgium, the Netherlands and West Germany.
Spotify Playlist
Prince’s work with these artists, and many others, demonstrated his versatility as a songwriter and producer. He had a unique ability to craft songs that suited each artist’s style while also infusing them with his signature sound and innovative musical ideas. His contributions to other artists’ careers enhanced their musical output, showcasing Prince’s impact on shaping the sound of popular music during his era, solidifying his reputation as a true musical icon and one of the greatest musicians of his time.
Which of Prince’s songs or productions for other artists resonates with you the most? Share your personal favorites in the comments below and let’s celebrate the enduring legacy of this unparalleled musical maestro together.
